Resident Evil: Afterlife

Eight years, three movies and now a third dimension have added little to the video-game-derived saga of Alice (Milla Jovovich), scourge of zombies and lust object of teenage boys. In “Resident Evil: Afterlife 3D,” our well-armed heroine is now on her fourth attempt to best the dastardly Umbrella Corporation and rescue remnants of spandex-clad humanity from the slobbering victims of the deadly T-Virus.

Opening in a Tokyo bunker and closing on a becalmed supertanker — with a brief detour to the Alaskan wilderness — “Afterlife” spends most of its running time in a Los Angeles prison surrounded by hordes of pustular flesh eaters. Hoping to locate the source of a mysterious rescue transmission, Alice and a small band of survivors — including a sexy basketball player (Boris Kodjoe) and a gimlet-eyed G.I. (Wentworth Miller, who must be sick of incarceration after four years on Fox’s “Prison Break”) — fight off the infected and finally head for the sewers. The script follows.

Written and directed by Paul W. S. Anderson (who has yet to encounter an idea he deems unworthy of repurposing), this witless installment features the usual ultra-slow-motion mayhem and helpful freeze-frames to allow us to admire the extra dimension. Fans will not be happy, however, to learn that Ms. Jovovich is more decently clothed this time around: when zombies disturbed her shower scene before she even had time to remove her machine-gun harness, the disappointment around me was palpable.

Cannibalizing John Carpenter’s “Thing” and much of the sci-fi-horror canon, “Afterlife” is more moribund than its thronging undead. “When I first got the script, I thought it was a practical joke,” Mr. Miller says in the film’s press notes. He’s probably not the only one.